If there's one thing The
Matrix Reloaded fortifies, it's that the Wachowski brothers are born
filmmakers through and through. Four
years after The Matrix, Andy and Larry have returned to their comic book fantasy
world and pumped it up on every level. As
promising as that statement sounds, it does not necessarily translate into
praise. With the upgrades come more
elaborate action sequences, a wider look at the world of the film, and more
philosophical musings. Lost,
however, is a sense of mystery. The
original film started off foggy, became slightly clearer without lifting the
haze, and ultimately ended in vibrant color—an understanding of events past
and a realization of new, seemingly unlimited possibilities. The Matrix Reloaded is, by
comparison, in black-and-white; everything is clear from the start. We know where it's heading and regret the clarity, longing for the times
we could only wonder. It's only at
the peak of the climax that the brothers Wachowski pull the rug out from under
everything and raise the miasma again, but when they do, they shatter the
security of preconception and compel us to beg for more.

The film opens as the original did, with an
action sequence centering on Trinity (Carrie-Anne Moss, who has evolved great
lengths as an actress since the first movie), who ultimately meets a crashing
end. It was all a dream, though, and
Neo (Keanu Reeves, whose stoicism is the right acting choice here) wakes up from
it again. There's little sleep
nowadays for the prophesized One who can free humanity from its enslavement and
use as batteries for the machines. The
Nebuchadnezzar, helmed by the enigmatic Morpheus (a quietly
commanding Laurence Fishburne), is heading back to Zion, the final haven for human beings who have been freed from The
Matrix. Things have become critical for the city, as the machines have begun
drilling toward it for attack. Only
seventy-two hours remain before the machines arrive, and while the population
prepares for the onslaught, Morpheus decides that Neo needs to return to The
Matrix to discover a way to beat the machines from within. A difficult task made even more challenging by the reappearance of Agent
Smith (a still exceptional Hugo Weaving), now free from his program and looking
to settle the score with Neo.

After the introduction of a surprisingly
disappointing Zion (rave dancing as religious celebration?), the movie goes back and forth between
revelatory dialogue and action. Plot-wise,
there's not much to the story, so as Neo and company arrive at a new location,
they more often than not meet a character who expounds philosophical on points
already established or concepts so cryptic that they lose meaning. There is an interesting trichotomy established in these that
differentiates the way the machines and human look at the nature of things. The machines, one character notes, see things in terms of cause and
effect—programming. The humans
have two ways of seeing things. One
is represented by Morpheus, who sees fate and destiny leading us along the path;
the other is set up by Neo, who sees choice—freedom. Now, how the world of these films operates is still open to
interpretation, and there's enough coincidence and personal conflict to have
sound reason for any of these. What
happens, though, is that eventually, all these ruminations become perfunctory;
the characters talk but nothing is said, if you catch my drift. The climax involves a long-winded speech meant to both confuse and
clarify that, in effect, stops the movie dead in its tracks.

Just like the original, the film pushes the
bounds of technical feats and raises the bar for special effects. Cinematographer Bill Pope reprises the green tint of The Matrix scenes,
and special effects artists give us glimpses of the way Neo sees the fake world
around him. They outdo themselves,
though, in a fight scene set at a playground between Neo and Agent Smith. Smith now has the ability to copy and paste himself, meaning that Neo
must face countless hordes of Smiths. There's
a fluidity to this scene that defies reason, considering the fact that it
incorporates traditional stunt work, split screen effects, and CGI. The Wachowskis handle each and every action sequence with enviable flair
and expertise. They bring back a
device from their debut film Bound
during an espionage sequence that has a plan play out as the players design it,
but the centerpiece is an extended freeway sequence that is simply spectacular. That a pair of minds would conceive such a sequence seems like insanity;
that they're able to realize it is just short of a miracle.

The film ends on a cliffhanger, complete with a "To
be concluded" title card. This
raises an interesting quandary: Is The
Matrix Reloaded a standalone movie? Or
is it simply part one? Different
parts of me find basis with either possibility, although I'm strongly leaning
toward the latter. Is this a flaw? Perhaps it is; at least, for now it is. I just hope the conclusion doesn't go the obvious
way. The ending opens up the possibility—and I hope this is where the films
are heading—that the illusion runs deeper than everyone realizes. If that truly is what lies at the end of the road, I'll be ready to make
the trip.

Note:
Stay after the credits to see a short preview of The
Matrix Revolutions.